Sheela's Bibliography

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Sheela's Bibliography

In this article, Carey represents the reproduction of Catcher in the Rye through the form of a short poem. Carey mentions that the original author of the work pointed out that, “ ‘Inside every fat book is a skinny book trying to get out’” (1). By condensing J.D. Salinger’s novel, the author of the poem detracts from what he feels are the most significant parts to create a more simplified model of the work. With humorous intentions, the author reveals his own interpretation, while staying somewhat true to the real text. This article is relevant to the Catcher Project because the game being created is an interpretation of what aspects, or of what sections, we will be modeling, in game form, will conclude to be noteworthy. While Carey shows us a reduced representation of the novel, the Catcher Project has similar intentions. The poem is a tremendously brief version of the entire novel; the Catcher Project only examines one specific section. By deducing what will be relevant, a game will be created that will not only echo the original text, but will also introduce new avenues and approaches to the text that will become determined by the interactive player. Unlike the poem, the Catcher Project will hopefully reflect at least a slightly higher sense of appreciation for the novel, with a deeper sense of understanding of the main character Holden’s mind.


  • Kücklich , Julian . “Perspectives of Computer Game Philology .” Game Studies 3.1 (2003): 1-9. Google Scholar. 13 May 2007.

<http://www.gamestudies.org/0301/kucklich/ >.

In this article, Kücklich focuses on the literary context of computer games. In his approach, Kücklich establishes computer game studies as an independent aesthetic subject, and not a sector of literary studies. He believes that if literary theory is used for the study of computer games, other factors must be considered. He feels that literary theory, “must take into account the fact the dynamic nature of these textual objects as well as the role of the player in constituting the gameplay experience (4). He claims that computer games must be considered in terms of interactivity and narration as equal counterparts for the creation of the game. Kücklich continues to support that by saying, “Literary studies can supply some of the building blocks of such a theory, but they must be integrated into a framework that spans all the disciplines involved in the study of computer games” (9). This article is relevant to the Catcher Project because it assesses the necessity of not only focusing on the narrative components for the work, but also the players interaction with the game itself. This will be an imperative factor for the Catcher Project because while narrative is essential, the interactivity will be the determining factor to how the game will continue or conclude itself.


  • Salen, Katie, and Eric Zimmerman. Rule of Play: Game Design Fundamentals. MIT Press, 2004.

pp.113-115.

In the chapter called "Games as Narrative Play," Salen and Zimmerman focus on the possibilities within narrative dimensions of game play. The sub-section of this chapter titled, "Games as Narrative Systems," brings together the general concepts from this chapter. This portion of the text outlines how the narrative aspects of a game are similar to that of creating other components of the game, and unification of the elements creates system. Salen and Zimmerman continue to explain the importance of “a narrative world that provides the overall setting and back story,” for the game (115). The relevance of this section to the Catcher Project is that our vision for the interactive player is that his or her actions will have a significant place in the overall narrative system. By the means of playing, our player will be able to create “meaningful narrative play” (115). Each action by the player will ultimately result in the next plot twist and/or conclusion to the game, whether or not it follows the strict outline of the actual text. In turn, this will likely enhance the experience of the interactive player in our game, because each action will result in a varied result. The psychological aspect of the game makes it so that unless the players choose the same exact options, their conclusion and/or experience will be completely different from that of other players.


  • Wahlbrinck, Bernd, “The Catcher in the Rye by J.D. Salinger and Related Matters.” 2007.. Retrieved 15 May 2007.

< http://www.wahlbrinck.de/catcherintherye/index.htm>

I came across this website, and found it particularly interesting because the creator has compiled some of her own works, collected works from others, and has incorporated links to other valuable literature and sites as an informational website for Catcher in the Rye. What was most interesting about this site was the artwork submitted by people with interpretations of scenes and what characters such as Holden might look like. Another thing that caught my eye was a diagram/model that maps out Holden’s travels and locations. This diagram also incorporates elements such as time, place, chapter, and when it is a flashback. The different images I found on this site seemed interesting, considering that our group is trying to determine how or in what way we will be representing the characters, especially the controversy about how Holden will be represented. Another feature of this site I found to be interesting was a selected word count, and “Phoebe” was the most used word (of the selected words chosen) at approximately 116 times. This might be interesting if we somehow incorporate Phoebe into the game we are creating, considering that she is such an essential character in Holden’s mind. I think this website is a good place to get ideas for things, especially since the author has so many ideas for different things and aspects of the novel.


  • “Sim Girl.” 2002. Sim Games. Retrieved 15 May 2007.

< http://www.ebaumsworld.com/simgame.shtml >

I was introduced when our group first came up with the idea to do the Sunny scene in Catcher in the Rye to this game. “Sim Girl” is an interactive game where the player begins by choosing from a selection of male characters by his “style” and his different levels of characteristics, such as charm, strength, and knowledge. The player then chooses a name, a height, and a weight for his character. The player then must choose form a series of options, including getting jobs, swimming in a meet, or buying a girl a gift, to try and make the girl he is interested in to become attracted and hook up with him. This game similar to the idea we have for our game because not only is it interactive, but like the player in “Sim Girl,” our player also chooses options that ultimately end in results based on those choices, just like the player in this game.

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